lInes oF deFence

lInes oF deFence the castle and the etching revival

steve marshall

THE ETCHINGS INCLUDED IN THIS CATALoGUE and exhibition are drawn from the collection of Stuart Southall. over the last fifteen years Stuart has amassed some 4,500 prints, primarily etchings and almost entirely monochrome. `is now represents one of the largest print collections in private hands in the UK and we are fortunate that he is so willing to share it through exhibition and publication. Stuart traces his interest in the graphic arts back to his teenage years and an aptitude for drawing in pencil and ink that at one time might have pushed him towards a career in architecture. `e predilection for architectural subjects among the artists of the etching revival may go some way to explaining his passion for the medium, but a collection of this size naturally has a far wider scope. We have selected some thirty-five etchings by notable artists and by those who are now largely forgotten.

Before examining the place of the castle in the etcher’s output it is worth explaining the phenomenon that was the ‘etching revival’. Etching originated in the sixteenth century and for many critics reached a peak of artistry and technique in the work of Rembrandt (1606–69). However, in Britain by the nineteenth century it was seen as the preserve of amateurs, copyists and journeymen illustrators. `e campaign to restore its reputation was led by Sir Francis Seymour Haden (1818–1910) and work produced by Haden and his brotherin-law James Abbott McNeill Whistler (1834–1903) from the late 1850s was to prove hugely influential. Primarily etched on the spot, their plates had an immediacy that captured fleeting efects of light and atmosphere and presented a truthful representation of the subject. `eir method also precluded a highly detailed rendering of the scene. For Haden the selection and, by implication, omission of line was a vital ingredient of the artistic process and when this was combined with skilful draughtsmanship it placed etching on an equal footing with painting as a legitimate creative medium.

Haden worked tirelessly to develop the concept of an etching revival: etching in Britain had fallen into decline after the seventeenth century but was now being revitalised. `is argument drew a direct line from the seminal work of Rembrandt, via French etchers working in the plein air tradition of the Barbizon School, to the style of print created by Haden and Whistler, ignoring the heavily worked plates prevalent in British etching at the time. In reality Haden was not responsible for a revival as such, but a reinterpretation of what an etching could and should be.1 He was instrumental in establishing the Society of Painter-Etchers in 1880 for ‘the promotion of the Art of original Engraving in all its forms’.2 `e gathering momentum was also reflected in new exhibitions dedicated solely to etching, the establishment of etching classes at the major art schools and the eventual acceptance of original etchings for display at the Royal Academy.

`e buyers for these prints were to be found among the middle classes, blessed with disposable income and the aspirations to match, but perhaps lacking the funds to buy paintings by leading artists. Etchings were cheaper but were not unique works of art. However, rarity and value could be conferred by limiting editions, through subtle diferences in the printing and by publishing small numbers of variant states. `e combination of a resurgent medium and a willing market resulted in an etching collecting craze: a pastime that embraced connoisseurship and promoted social interaction between collectors. While this benefited publishers and dealers it also provided a lucrative opportunity for the etchers themselves. By the 1920s etching became a virtually guaranteed source of income to any artist with the necessary skills to join the bandwagon.

Unfortunately the boom would not last. `e eforts to instil value and uniqueness backfired as the etching was increasingly seen as a speculative investment. Limited editions by the most famous artists sold out immediately but could be found shortly afterwards selling at auction for vastly inflated prices.3 While the speculators prospered, the artists received nothing from these re-sales.4 By 1927 prices had already begun to fall and the Wall Street Crash of october 1929 saw the bottom drop out of the etching market altogether. Almost overnight demand dried up and a generation of artists who had made a comfortable living by the medium were left with the choice of taking up painting or turning to teaching. While a few etchers persevered into the 1930s and 1940s the golden age was well and truly over.

Today interest in etchings has been rekindled and they are once again discussed, exhibited and collected. For those new to the medium there is a staggering number of artists to be discovered and a wide range of subjects to enjoy. A recurring theme is architecture. `is was partly as a result of Haden’s promotion of good draughtsmanship as the basis of truly artistic works:

INTAGLIo – All of the printmaking processes covered here are intaglio methods where the artist cuts lines into a plate (usually copper) and it is these lines which hold the ink, so the cuts made appear black on the finished print. `is is the opposite of relief printing (e.g. wood engraving, linocut) where the ink is applied to the upper surface and everything cut away appears white on the print. ENGRAvING – `e engraver cuts lines directly on to the copper plate using a burin which makes a V-shaped incision. `e engraver pushes the burin along the plate scooping out tiny slivers of metal, changing direction by moving the plate. By varying the pressure the engraver controls the width of the line. Ink is applied to the plate and any surplus wiped away so that it only gathers in the incised lines. Paper is then laid over the plate and run through a printing press which pushes the paper into the inked lines. ETCHING – `e copper plate is covered with a thin layer of wax, known as the ‘ground’. `e etcher then cuts lines into the ground with a needle tool. It requires far less pressure to cut into wax than to cut directly into the metal so the etcher is able to work much more freely, almost as if drawing with a pencil. Once the cutting is done the plate is immersed in an acid bath. `e acid will eat into the copper plate where it has been exposed from the wax by the etcher’s needle. `e longer the plate is left in the acid the more deeply the lines will be ‘bitten’, becoming deeper and broader. In this way the etcher can control how darkly the lines will appear. If some areas of the plate need to be darkened further the etcher can varnish over the areas they wish to keep intact before re-immersing the plate, this is called ‘stopping out’. `e finished plate is printed in much the same way as an engraving. DRyPoINT – For a drypoint the artist cuts directly into the copper plate with a steel needle. `is allows the artist to work quickly and directly from the subject, rather than first creating a drawing. Unlike the engraver’s burin, which scoops out the metal, the drypoint needle merely pushes the cut metal to either side of the line creating a ‘burr’. Instead of the sharp lines of etching or engraving the burr gives a much richer, blurry line as the ink gathers on the rough burr as well as in the line itself. Since the artist has to force the needle through the metal they cannot make lines with the same freedom as in etching, so drypoint prints tend to be marked by shorter, simpler lines. Many artists combined drypoint with etching or engraving to give them a wider tonal range. AQUATINT – A tonal printmaking method with similar principles to etching, so named because it creates an efect like watercolour painting. Resin is dusted onto the plate which is then heated to make the grains melt and adhere to the surface. `is covers the plate in tiny globules of resin. When the plate is immersed in an acid bath the acid bites around these dots. On the print this gives dark lines surrounding little spots of white. As in etching the longer the plate is left in the acid the broader and darker these lines become. Aquatint therefore relies very heavily on stopping out to control the gradations in tone. MEzzoTINT – `e plate is prepared by going over the whole surface with a toothed rocking tool, working in all directions to raise a burr across the entire area. `ese tiny lines hold the ink and if printed un-worked would render an intense black. `e artist sketches out the composition and begins scraping away the burr. Black areas would be left untouched, elsewhere the more the burr is scraped away the lighter the tone produced. In the lightest areas the original flat surface of the plate would be reached through burnishing. As with aquatint, the mezzotint is a tonal method, made distinctive by rich dark areas and the soft edges between the various tones. cityscapes and elaborate buildings allowed the etcher to show of their drawing skills in complex and detailed compositions. `ere is though a danger that such exercises can become admirable but sterile. `e castle on the other hand gave the artist something a little diferent: often situated in spectacular positions, castles provided focus and drama in a landscape setting. `e works illustrated in this catalogue represent a very small sample of the many etchings which explored the rich potential of the subject.

one of the most celebrated and commercially successful etchers was Sir David young Cameron (1865–1945). Cameron studied in Glasgow and Edinburgh and early influences included Haden, Whistler and the French etcher Charles Méryon (1821–68). Cameron was prolific, producing over six hundred plates of primarily architectural and landscape subjects, the brooding Ben Ledi (1911) with its strong blacks and simple, striking composition is often seen as the pinnacle of his achievement. `e castle is a recurring motif in Cameron’s work and in a sense provides a bridge from his earlier architectural studies to his atmospheric landscapes. `e Gargoyles, Stirling Castle (1898) is a view of the south facade where foreshortening concentrates a mass of architectural detail into a few centimetres’ width (see page 167). Window grilles, fluted columns and the eponymous gargoyles are clearly delineated with a restrained but telling use of line. Cameron was drawn to gargoyles and grotesques, an interest which culminated in `e Chimera of Amiens (1910). `is sense of the Gothic also informs some of Cameron’s early castle etchings such as Tillietudlem (1889) and Rowallan’s Towers (1893) where the buildings are viewed through a mass of dark vegetation. Later castle subjects are marked by the sparse and somewhat bleak approach of his Highland landscapes. Craigievar (1908) shares the sepulchral tones of Ben Ledi, while Inverlochy Castle (1914), Castle Moyle (1932) and Tantallon (1932) are even more stark in their minimal use of line: the structures brood, forlorn and abandoned, in almost featureless surroundings.

Frederick vango Burridge (1869–1945) studied etching with Sir Frank Short (1857–1945) at the Royal College of Art and was to become Principal at the Central School of Art and Design. Short’s love of Rembrandt was passed on to many of his students and the influence can be seen in Burridge’s romantic landscape subjects. Harlech Castle (1891) (facing page) is a case in point where the strong contrasts between dark and light, the handling of the foliage and the weather efects are reminiscent of Rembrandt’s `e `ree Trees (1643). Harlech’s position overlooking Tremadog Bay is dramatic and Edward i’s fortress retains an aura of power. Burridge shows the castle as an extension of the rocky outcrop, enduring in the face of the elements. Intriguingly Burridge made a tiny (25 x 35 mm) version of this etching in 1922 to be displayed in Queen Mary’s doll’s house.

`e Royal Academy’s original stance that etching and engraving were only fit to be exhibited when used to reproduce paintings was no barrier to Henry Macbeth-Raeburn (1860–1947) who produced a wealth of mezzotint copies of famous portraits. However, he also produced original landscape etchings. Among his castle subjects are Winchelsea from Camber Castle, which shows one of Henry’s viii’s coastal forts and Sunrise, Dunvegan Castle, Skye, a beautifully rendered etching and drypoint print showing the castle emerging from the shadows as dawn breaks. `e Horn

Frederick vango Burridge / Harlech Castle / 1891 / drypoint and etching / 237 x 258 mm Stuart Southall collection

John Charles Robinson / Corfe Castle, Sunshine after Rain / 1878 / etching / 155 x 277 mm Stuart Southall collection

Percival Gaskell / Corfe Castle / mezzotint / 220 x 293 mm Stuart Southall collection

Henry Macbeth-Raeburn / `e Horn Store / 1911 / drypoint / 200 x 253 mm Stuart Southall collection

Store (1911) (see above) makes use of the warm, velvety tones of drypoint to contrast the dim interior with the brightness beyond. `e Tower of London dominates the opposite bank, a symbol of historic strength now superseded by the economic power of trade represented by the bustling river tra2c.

`e picturesque ruins of Corfe Castle have long been a popular subject for artists. Two distinctive treatments included here demonstrate the range of possibilities available to the intaglio printmaker. Sir John Charles Robinson (1824–1913) was a curator at the victoria & Albert Museum and Surveyor of the Queen’s Pictures. He was also a personal friend of Haden who encouraged him to take up etching. Corfe Castle, Sunshine after Rain (1878) embodies Robinson’s interest in the atmospheric efects of changing weather conditions (see facing page, top). `e castle is bathed in sunbeams, dark clouds are retreating, and in the foreground there is a palpable sense of nature’s enern and abundance. It is perhaps the sheep and thatched cottage, combined with the dramatic lighting, which bring to mind the visionary paintings and etchings of Samuel Palmer (1805–81). `e vigorous mark making that gives this print such intensity is in stark contrast to George Percival Gaskell’s (1868–1934) carefully controlled mezzotint Corfe Castle (see facing page). Like Burridge, Gaskell had studied under Short at the Royal College of Art. of Gaskell’s predilection for castles Malcolm Salaman wrote ‘when he seeks inspiration in architecture it is invariably some romantic and picturesque old castle that dominates the landscape, and then with the infinite tonal harmonies and contrasts of mezzotint he achieves his pictorial expression’.5 Six castles could be found among the works shown at the Lefèvre Galleries in 19236 including etchings of Harlech Castle (see page 128) and `e Enchanted Castle and mezzotints of Chepstow Castle and Harlech Castle. While Haden’s concept of ‘learned omission’ and spontaneity informed the approach of many etchers, the painstakingly worked plate still had its advocates. `e etchings of Samuel Palmer, produced late in his career but reprising the ardour of his Shoreham period, inspired a coterie of students at Goldsmiths’ College: Graham Sutherland (1903–80), Paul Drury (1903–87), Edward Bouverie Hoyton (1900–88) and William Larkins (1901–74). Larkins discovered an impression of Palmer’s etching `e Herdsman’s Cottage (1850) in a shop in Charing Cross Road. Sutherland later recalled: ‘I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work, and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity’.7 Ironically Larkins, the discoverer of Palmer, was the least afected by pastoralism, the subject of much of his work being urban scenes, particularly in East London where he had grown up. A trip to Wales in the early 1920s inspired several prints including Manorbier Castle (1924) (see page 125). `is was the artist’s second attempt at the composition bringing the castle out of the surrounding landscape through clever use of light efects.8 `e walls facing the sun are lightly etched while for those in the shade the rendering of each individual stone gives the appearance of shadow. `e castle is a dignified presence, looming benignly over the surroundings shown in a mass of hatching which conveys texture and tone. `e print is dotted with examples of Larkins’s love of quirky details, a courting couple sitting by the millpond, the ghostly figure of a mounted knight with lance by the bridge, flying geese and tiny buildings which emphasise the mass of the castle above. A castle also makes an appearance in Roadmen (Work) (1925) (see page 152) possibly based on Kidwelly a few miles along the coast from Manorbier. Larkins gave up etching after the crash and turned to commercial

Frederick Landseer Griggs / `e Cresset / 1915 / etching / 161 x 245 mm Stuart Southall collection

Frederick Landseer Griggs / `e Barbican / 1920 / etching, 163 x 172 mm Stuart Southall collection

Frederick Landseer Griggs / Sarras / 1926–28 / etching / 217 x 400 mm Stuart Southall collection

art, one of his claims to fame being the design of the Black Magic chocolate box. Bouverie Hoyton’s Kidwelly Castle (see page 83) is a more Whistlerian take on the subject although it also displays the detailed hatching and texture which the Goldsmiths’ group derived from Palmer.

Another Palmer-inspired artist who also encouraged the younger devotees was Frederick Landseer Griggs (1876–1938). Griggs began etching as a teenager but, after studying architectural draughtsmanship, first made his name as an illustrator of the Highways and Byways guide books. His dissatisfaction with the reproduction of his drawings pushed him back towards etching and this, coupled with his conversion to Catholicism, resulted in a series of works quite unique in the history of British art. Griggs spoke of his early works as ‘a series of views – ideal views – of such remains of an earlier and better England as might be found remaining – where the conditions had been kind enough’.9 Churches and abbeys, often in pre-Reformation splendour, were key subjects for Griggs but his interest in medieval architecture meant that castles and fortifications also appear in his work. `e Cresset (1915) (see facing page, top) takes its name from the basket lantern seen above the gateway. `is imaginary scene is dominated by the imposing bridge, heavily hatched even in the lighter areas to give it a sense of mass. Griggs would sometimes revisit early works and `e Barbican (1920) (see facing page) is a re-working of `e Cresset. `e plate has been cut down to left and right and a huge tower has been added to the bridge. `is creates a much darker and indeed ominous efect, reinforced in a third state by the inclusion of traitors’ heads impaled above the gateway. Sarras (1926–28) was Griggs’s own favourite (see above),10 taking its title from the city to which Galahad takes the Holy Grail in Le Morte d’Arthur. It is an imaginative tour de force, dominated by three huge Gothic churches encircled by an elaborate defensive wall, with a castle receding into the distance on the right. Apart from a shepherd and his flock the city appears deserted, conjuring a melancholy atmosphere present in an number of Griggs’s etchings.

Griggs became a masterful printer, a process which was almost as important as the creation of the etching plate itself. `ese were skills he was happy to share with other artists including Sutherland, Drury and Joseph Webb (1908–62). Webb came to etching just as the revival went from boom to bust but he was to persevere with the medium into the 1940s. His best known etchings are either pastoral scenes informed by Palmer or works of the imagination featuring monumental structures. `e latter owe something to Griggs, but are the product of Webb’s unique vision influenced by the mystical and occult precepts of `eosophy. It is not surprising then that Webb was drawn to ancient buildings and that castles feature in a number of his works including Chepstow from the Clif (1928) (see page 124), Chepstow (1928), Pembroke or `e Great Keep (1929) (see page 87), Carew (1929) and Windsor Castle (1936) (see overleaf). `e two states of Chepstow (see overleaf) give us an idea of Webb’s working methods and show how the printing of proofs

Joseph Webb / Chepstow / 1928 / etching (early state) / 240 x 404 mm Stuart Southall collection / © Beryl Gascoigne & Jane Furst

Joseph Webb / Chepstow / 1928 / etching (later state) / 235 x 397 mm Stuart Southall collection / © Beryl Gascoigne & Jane Furst

Joseph Webb / Windsor Castle / 1936 / etching / 200 x 322 mm Stuart Southall collection / © Beryl Gascoigne & Jane Furst

Leslie Ward / Chepstow Castle / 1935 / etching / 170 x 163 mm Stuart Southall collection / © estate of the artist

Emerson Harold Groom / Pembroke Castle / etching / 243 x 346 mm Stuart Southall collection

E. Willis Paige / Dover Castle / c.1927 / etching / 145 x 249 mm Stuart Southall collection

at stages during an etching’s development helped the artist achieve a balanced composition. `e earlier state shows the river and a portion of the sky yet to be completed, while in the later state the trees in the foreground have been more heavily etched to darken the foliage. `e comparison also reveals the great changes achieved through the careful inking and wiping of the plate. `e second state is a much more harmonious composition, the tonal changes complimenting one another, whereas in the earlier state some of the foreground detail seems confused and the castle’s outline is lost in the heavyhanded treatment of the sky. `e completed composition has an oddly archaic character that seems to hark back to early topographical engravings.

As for the landscape painter so too the topographical etcher had to travel to seek out new and inspiring subject matter. Among the many possibilities presented by the domestic landscape castles retained the allure held since the first picturesque tourists ventured forth in the eighteenth century. Bournemouthbased artist Leslie Ward (1888–1978) found much to inspire him in nearby Purbeck including Corfe Castle which featured in a watercolour (see page 118) and several etchings.11 He also travelled widely in search of the harbour scenes and ancient buildings which so inspired him. `e bright and airy view of Chepstow (1935) (see facing page, top) is almost unrecognisable from Webb’s eerie ruin. Londoner Emerson Harold Groom (1891–1983) also made the trip to Wales to record Pembroke Castle (see facing page). Much of this subtly worked study is taken up by the castle pond, reduced to a mere channel at low tide, the densely etched castle rises imposingly above, seemingly fused with the rocky clif and clinging vegetation. Frugal mark-making on the church, tide mill and smaller buildings establishes the primary subject and gives an impression of spatial depth. E. Willis Paige (1890–1960) was based in Bristol, teaching at the Municipal School of Art, and does not seem to have exhibited much beyond the city.12 He did travel farther afield in search of material, making at least three etchings of Dover Castle, one of the gatehouse, one viewed from sea level called Dover Harbour (c.1927) and an unusual view from the east Dover Castle (c.1927) (see above). Willis Paige was a naturally gifted draughtsman and these understated works demonstrate a light and assured touch, although the eastern composition is not completely successful in distinguishing the receding lines of defence. For Sufolk-born Leonard Squirrell (1893–1979) the landscapes and historic buildings of East Anglia were a constant joy, but he too travelled far and wide, gaining a reputation as one of the greatest topographical watercolourists of his generation. He was also a talented etcher, his style as both painter and print-maker based on accomplished but unfussy draughtsmanship. As a lover of the British countryside and its monuments Squirrell was naturally drawn to castles, represented in this catalogue by the products of trips to northern England and Scotland: a watercolour of `e Dovecote, Dirleton Castle (1959) (see page 168), a drypoint of Urquhart Castle, Loch Ness (see page 170) and the etching and aquatints Morning in Durham (1931) (see page 63), Alnwick Castle, Northumberland (see page 85) and Edinburgh from Calton Hill (see page 164). Squirrell commented that ‘the whole art of aquatint is a matter of brushwork’13 and his mastery of watercolour clearly made for an easy transition to the demands of the medium as demonstrated by these delicately atmospheric prints.

Henry Rushbury (1889–1968) became an influential member of the capital’s art establishment and was Keeper of the Royal Academy Schools from 1949, but it was a chance meeting with Francis Dodd (1874–1949) which had started his career as an

Kenneth Steel / Stirling Castle / 1934 / line engraving and drypoint / 303 x 357 mm Stuart Southall collection

Kenneth Steel / Bamburgh Castle / 1933 / line engraving and drypoint / 191 x 281 mm Stuart Southall collection

etcher. Dodd saw Rushbury sketching London’s Essex Gate and suggested that he take up drypoint, even giving him a copper plate and diamond point tool. Drypoint was to become his preferred medium, cityscapes and notable buildings his prime subject matter. His friend Randolph Schwabe (1885–1948) wrote that Rushbury’s prints and watercolours ‘carry on, with a personal, delicate flavour, the best traditions of the English school of landscape and architectural draughtsmanship’.14 `e drypoints are indeed breathtaking feats of control, handling immensely complex subjects with meticulous cutting, combining great detail with artful lighting efects. Castles also feature among Rushbury’s output, he seems to have particularly enjoyed subjects where stonework rises almost organically from rocky outcrops as seen in Les Baux (1922), Lindisfarne (1924) (see page 113), Porta Maggiore, Orvieto (1925) and Stirling Castle (1945) (see page 166). In his diaries Schwabe suggests that after the crash Rushbury was one of the few etchers who did not have to turn to teaching to supplement his income, but by 1932 he too was looking for pupils as money and commissions were scarce.15 At first sight the work of Kenneth Steel (1906–70) has similarities, in terms of subject and approach, with that of Rushbury, but on closer inspection their prints have a quite distinct character. `is is partly because Steel’s chosen medium was engraving rather than etching, for him a natural progression from early work in pewter and silverware. A comparison between Steel’s engraving and drypoint of Stirling Castle (1934) (see facing page, top) and Rushbury’s drypoint of the same subject reveals a superficial similarity in composition. However, Rushbury’s use of largely vertical lines on clif and castle, with horizontal hatching for darker tones is distinct from the wider range of fine lines used by Steel. `ese are cut in diferent directions to express texture on the castle walls and Steel relies more heavily on drypoint for the darkest shadows. It is intriguing to see how the two artists have exploited their chosen medium: Rushbury’s print has a more consistent tone while Steel’s has the greater contrast between light and shade so that the surfaces appear more varied. `is is particularly apparent in Steel’s Bamburgh Castle (1933) (see facing page) where the textural hatching gives the stonework an eccentrically irregular appearance. Perhaps this was what his London dealer alluded to when stating ‘much of his work has a curious fantastic quality’.16

one could conclude that a ‘curious fantastic quality’ is exactly what made the castle such an appealing subject to generations of British artists. Castles and ancient monuments had long inspired landscape painters and featured heavily in the print series published by Turner and others in the eighteenth and nineteenth centuries. `e majority of etchers were certainly working in this tradition, sidestepping modernist ideas emerging before and after the First World War. Nevertheless the artists of the etching revival exploited the unique possibilities of their medium to write a significant, if sometimes overlooked, chapter in the history of British landscape art.

1. Chambers, Emma, An Indolent and Blundering Art? `e Etching Revival and the Redefinition of etching in England 1838-1892 (Ashgate, 1999), pp. 7–8. 2. Hopkinson, Martin, No Day Without a Line: `e History of the Royal Society of Painter-Printmakers 1880-1999 (oxford: Ashmolean Museum, 1999), p. 14. After receiving the royal charter in 1888 it became the Royal Society of PainterEtchers, the name was extended to the Royal Society of Painter-Etchers and Engravers in 1898 and finally became the Royal Society of Painter-Printmakers in 1991. 3. David young Cameron’s North Italian Set was published at £30 in 1896 and one set sold in 1919 for £1,290. Cameron is said to have given up etching for a time in dismay at his work being used as a commercial investment. See: Harvey-Lee, Elizabeth, `e Seductive Art: `e British Passion for Etching, 1850-1950: Scottish Etchers and Etchers working North of the Border 1890s-1940s (2001), no page numbers. 4. Frederick Grigg’s etching `e Almonry (1925) was published at 4 guineas (Griggs got 3 guineas) but on the open market it sold for £30 and within two years it was selling for £135. See Moore, Jerrold Northrop, F.L. Griggs (1876–1938): `e Architecture of Dreams (Antique Collectors’ Club, 2008), p. 179. 5. Salaman, Malcolm C., ‘`e Prints of Percival Gaskell re’, `e Studio, vol. 61, issue 253, May 1914. 6. Lefèvre Galleries, Catalogue of an exhibition of etchings by Robert Spence re, Jno. R. Barclay, J.H. Dowd & etchings, mezzotints & aquatints by Percival G. Gaskell rba re, February 16th–March 16th 1923. 7. Sutherland, Graham, ‘`e visionaries’, introduction to `e English vision: etchings and engravings by Edward Calvert, 1799–1883, William Blake, 1757–1827, Samuel Palmer, 1805-1881, Graham Sutherland, b. 1903, Frederick Griggs and Paul Drury (William Weston Gallery, 1973) p. 2. 8. Cooke, Gordon, William Larkins: Etchings of the East End in the 1920s and other scenes (Robin Garton, 1979), p. 9. 9. Moore, op. cit., pp. 85–6. 10. Wright, Harold J.L., `e Etched Work of F.L. Griggs ra re fsa (`e Print Collectors’ Club, 1941), publication no. 20, p. 24. 11. Davies, Peter and Marshall, Steve, An English Idyll: Leslie Mofat Ward Paintings and Prints (Sansom & Company, 2015), pp. 10, 40. 12. Stoddard, Sheena, City Impressions: Bristol Etchers 1910–1935 (Redclife Press, 1990), p. 63. 13. Walpole, Josephine, Leonard Russell Squirrell rws re: Etchings and Engravings, (Baron Publishing, 1984), p. 33. 14. Schwabe, Randolph, ‘`e Etchings of Henry Rushbury’, `e Print Collector’s Quarterly, vol. 10, no. 4, December 1923, p. 406. 15. Clarke, Gill (ed.), `e Diaries of Randolph Schwabe: British Art 1930–1948 (Sansom and Company, 2016), pp. 73, 109. 16. James Connell & Sons, Exhibition of the work of Kenneth Steel: Drypoints, engravings, watercolour drawings, 23rd February 1934.